PLOT THREE
Actor: Sendhil Ramamurthy
Sendhil Ramamurthy is perfect for this role as he can be seen as someone who is quite vulnerable, this is also further backed up by the fact he played someone without superpowers in "Heroes" and has thus seen as a less aggressive actor. He is definatley a credible actor and although this will be his first major film role, after watching "Heroes" he is more than up to the role.
PLOT ONE
Actor: Kirsten Dunst
Kirsten Dunst suits this role well because she is quiet young looking and has been in a lot of major film roles. She is an experienced actor and will succeed in portraying the struggle and sadness that they story presents. She also strikes me as someone very confident and strong when she needs to be which suits the story even more.
Wednesday, October 22, 2008
Tuesday, October 14, 2008
Tuesday, October 7, 2008
Continuity Image Analysis
American Beauty
Sam Mendes
Lester Burnham, a depressed suburban father in a mid-life crisis, decides to turn his hectic life around after developing an infatuation for his daughter's attractive friend.
Shot 1 - 0.11: This is a long shot (LS) and opens up the scene introducing 2 characters eating at the dinner table. It is an establishing shot which gives the audience insight in to the setting of the next scene. Towards the end of the shot we see a girl walk in to the room and join them for dinner.
Shot 2 - 0.19: After the establishing shot there is a straight cut to a mid-shot (MS) of the mother. The distance from a long shot to a mid-shot is smooth and if it was, instead, a long shot to a close-up, it wouldn't look right. This is because the cut would look way too jumpy, but because a mid-shot was used it gave the audience some background scenery which follows on from the long shot, creating continuity.
Shot 3 - 0.24: The next shot follows the rule of thirds immaculately and the shot is very symmetrical. The candles placed on either side of the frame and her placed in the middle shows us that she is caught up in the middle of her parents arguement, and this shows that the shot is a reaction shot. The shot is again a mid-shot of her sitting at the dinning table.
The camera's cut back and forth between each of the characters according to who has any dialogue in the scene, up until 1:15. The cutting points are always the same and the audience becomes so familiar with these shots and don't even notice the cutting between them, they are matched cuts which keep the continuity of the shot going, and are 'invisible' to the viewer.
Shot 19 - 1.15: The daughter is framed in a mid-shot and she tries to leave the dinner table to get away from her parents arguement, but is told to sit down. The camera follows her movements as she gets up so that the cut of points don't change
Shot 20 - 1.22: The camera goes back to the master shot, a long shot which features the husband getting up and walking towards the plate of asparagus he has been asking for. The fact that the camera doesn't change position until he begins to sit down again, really emphasises his stubborness. The focus is totally on him as the other 2 character don't move at all.
Shot 21 - 1.52: After the master shot we go back to the standard mid-shots of them sitting at the table up until he gets up again with the plate in his hand. The camera follows him and when he's about to throw it at the wall the camera cuts to the master shot where the audience can see it smash against the wall.
Continuity is shown throughout this scene partly due to the same cut off points being used and the audience becomes so familiar with them. Also the last shot in the scene is the same long shot we started with and adds to the feeling of continuity.
Sam Mendes
Lester Burnham, a depressed suburban father in a mid-life crisis, decides to turn his hectic life around after developing an infatuation for his daughter's attractive friend.
Shot 1 - 0.11: This is a long shot (LS) and opens up the scene introducing 2 characters eating at the dinner table. It is an establishing shot which gives the audience insight in to the setting of the next scene. Towards the end of the shot we see a girl walk in to the room and join them for dinner.
Shot 2 - 0.19: After the establishing shot there is a straight cut to a mid-shot (MS) of the mother. The distance from a long shot to a mid-shot is smooth and if it was, instead, a long shot to a close-up, it wouldn't look right. This is because the cut would look way too jumpy, but because a mid-shot was used it gave the audience some background scenery which follows on from the long shot, creating continuity.
Shot 3 - 0.24: The next shot follows the rule of thirds immaculately and the shot is very symmetrical. The candles placed on either side of the frame and her placed in the middle shows us that she is caught up in the middle of her parents arguement, and this shows that the shot is a reaction shot. The shot is again a mid-shot of her sitting at the dinning table.
The camera's cut back and forth between each of the characters according to who has any dialogue in the scene, up until 1:15. The cutting points are always the same and the audience becomes so familiar with these shots and don't even notice the cutting between them, they are matched cuts which keep the continuity of the shot going, and are 'invisible' to the viewer.
Shot 19 - 1.15: The daughter is framed in a mid-shot and she tries to leave the dinner table to get away from her parents arguement, but is told to sit down. The camera follows her movements as she gets up so that the cut of points don't change
Shot 20 - 1.22: The camera goes back to the master shot, a long shot which features the husband getting up and walking towards the plate of asparagus he has been asking for. The fact that the camera doesn't change position until he begins to sit down again, really emphasises his stubborness. The focus is totally on him as the other 2 character don't move at all.
Shot 21 - 1.52: After the master shot we go back to the standard mid-shots of them sitting at the table up until he gets up again with the plate in his hand. The camera follows him and when he's about to throw it at the wall the camera cuts to the master shot where the audience can see it smash against the wall.
Continuity is shown throughout this scene partly due to the same cut off points being used and the audience becomes so familiar with them. Also the last shot in the scene is the same long shot we started with and adds to the feeling of continuity.
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